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Steven Spielberg: Hollywood Wunderkind and Humanist focuses on the most commercialy successful American director of his generation, from his early career at Universal Television to the Oscar-winning Lincoln (2013). The fourteen chapters deal as much with his major hits as with films that have received little critical attention like The Sugarland Express (1974), 1941 (1979) and The Terminal (2004). They address questions of ethics, ideology and identity politics recognized as central to the director’s œuvre, while seeking to make up for the lack of material on the films’ formal qualities and on the notable contributions they have made to classical Hollywood genres such as horror, science fiction and the war movie. This book contests the idea that Spielberg is a “naïve” director, a mere craftsman with an eye for composition and a natural talent for narrative economy. Instead, the book aims to foreground the work’s cohesion, its influences and self-consciousness, its steadfast inscription within the Western humanist tradition, and its resolve to engage with the contemporary and explore complex ethical issues through mainstream narratives, whether “serious” Oscar contenders or action-filled popcorn blockbusters, a dichotomy Spielberg has increasingly sought to blur.

Film Radio Television --- cinéma américain --- esthétique --- éthique --- Nouvel Hollywood --- politique --- Steven Spielberg --- America cinema --- Ethics --- Aesthetics --- New Hollywood --- Politics

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Minorities in motion pictures. --- Motion pictures --- Minorités dans l'industrie cinématographique. --- Cinéma --- History. --- Histoire --- Minorités dans l'industrie cinématographique. --- Cinéma --- MINORITES AU CINEMA --- ETHNICITE AU CINEMA --- CINEMA AMERICAIN --- HISTOIRE ET CRITIQUE

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Critics hailed previous editions of Visionary Film as the most complete work written on the exciting, often puzzling, and always controversial genre of American avant-garde film. This book has remained the standard text on American avant-garde film since the publication of its first edition in 1974. Now P. Adams Sitney has once again revised and updated this classic work, restoring a chapter on the films of Gregory J. Markopoulos and bringing his discussion of the principal genres and major filmmakers up to the year 2000.

Films expérimentaux --- Cinéma --- cinéma américain (Etats-Unis) --- Cinéma expérimental --- Histoire et critique --- Histoire --- 2000 --- Film --- filmgeschiedenis --- anno 1900-1999 --- anno 2000-2009 --- United States --- Experimental films --- History and criticism. --- United States of America

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Settling the Score is intended for general readers with minimal technical musical and contemporary theoretical skills. Kalinak's goal is, in fact, to 'settle the score' between the cinematic visual and aural, to promote music as an equal partner to the visual. In order to do so she provides a brief but illuminating historical summary of sound and music in film. Kalinak's strongest sections include a detailed discussion of the differences between music for silent films and sound films, and analyses of several different stylistic approaches toward musical composition in the Classical Hollywood film. Beginning with the earliest experiments in musical accompaniment carried out in the Edison Laboratories, Kathryn Kalinak uses archival material to outline the history of American music and film. Focusing on the scores of several key composers of the sound era, including Erich Wolfgang Korngold's Captain Blood, Max Steiner's The Informer, Bernard Herrmann's The Magnificent Ambersons, and David Raksin's Laura, Kalinak concludes that classical scoring conventions were designed to ensure the dominance of narrative exposition. Her analyses of contemporary work such as John Williams' The Empire Strikes Back and Basil Poledouris' RoboCop demonstrate how the traditions of the classical era continue to influence scoring practices today.

Motion pictures --- Cinéma américain --- --Musique --- --Motion picture music --- Film, Musique de --- History and criticism. --- Histoire et critique --- Motion picture music --- Music --- Film --- anno 1900-1999 --- United States --- History and criticism --- Musique de film --- Histoire et critique. --- --Musique de film --- Musique --- United States of America

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Motion pictures --- Motion picture plays, American --- History --- History and criticism --- Motion picture plays --- -Motion pictures --- -Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Film plays --- Film scripts --- Filmscripts --- Motion picture scripts --- Moving-picture plays --- Photoplays --- Scenarios --- Screen plays --- Screenplays --- Scripts (Motion pictures) --- Drama --- History and criticism. --- History. --- -History and criticism --- Motion pictures - United States - History --- Motion picture plays, American - History and criticism --- Cinema americain